{"id":492,"date":"2011-09-16T13:20:38","date_gmt":"2011-09-16T11:20:38","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=492"},"modified":"2015-05-26T14:04:29","modified_gmt":"2015-05-26T12:04:29","slug":"lecturers","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/14th-year-20112013\/series-of-public-lectures-on-curatorial-and-institutional-practice\/lecturers","title":{"rendered":"Lecturers"},"content":{"rendered":"

WORLD OF ART
\nSchool for Curators and Critics of Contemporary Art
\nSeason 14<\/p>\n

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\n\"S\u00f8nkeS\u00f8nke Gau<\/strong>
\nLives in Z\u00fcrich (CH), cultural scientist, curator, critic and lecturer
\n2004\u20132009 he formed, together with Katharina Schlieben, the curatorial directing team of the Shedhalle in Z\u00fcrich. 2000\u20132004 he worked at the Institute for Contemporary Art at the Academy of Fine Arts (Wien), as exhibition co-ordinator and curator at K\u00fcnstlerhaus Vienna and as project manager of the 3rd Berlin biennial for contemporary art. Recent publications include: Spectacle, Pleasure Principle or the Carnivalesque \u2013 A Reader on Possibilities, Experiences in Difference and Strategies of the Carnivalesque in Cultural-Political Practice and Work to do! Self-Organisation in precarious Working Conditions (ed. together with Katharina Schlieben, 2008 and 2009). He has been a researcher and the project manager of ‘Institutions of Critique’ at the Institute for Theory (ith), since 2010 and ‘Scientist in Residence’ at the Institute MA in Transdisziplinarit\u00e4t, 2011\u20132012, both at Z\u00fcrich University of the Arts (ZHdK).<\/p>\n

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\n\"PetraPetra Kap\u0161<\/strong>
\nPetra Kap\u0161 (Maribor, 1975) is an independent author, working as writer, researcher, performer, curator and producer.
\nHer studies of slovenian language, theology, philosophy, aesthetics and specific art phenomena are interlinked with researches of different aspects of media, word, image and sound. Currently she is preparing her PHD on significant shifts between oracular, oral and rhetorical practices in ancient Greece with possible effects of the later in artistic practices in western context.
\nSince 2003 she has been extensively writing about different art phenomena, art works and artistic practices. In 2010 she self-published her first book \u2013OR\u2013 changes of art, Book Nr. 1, and in 2011 she began with her e-mail critical correspondence OR reflection. She led artists run space Open studio with Iztok Maroh (2007\u20132010), co-founded and actively participated in the TU Society for the Promotion and Development of Culture (2004\u20132007) and the assembly so0gledi (2007\u2013). The first steps in a long-term research work OR were made in 2010 with the project \u2013OR\u2013 changes of art, Being poetic in correspondence with an oracle (exhibition, book, lectures, performances, and debates, with: Alenka Pirman, Katarina Zdjelar, Borut Savski, Tao G.\u00a0 Vrhovec Sambolec, Evelyn M\u00fc\u00fcrsepp, Erkki Luuk, John Grzinich, Simon Macuh, Marko Ko\u0161nik; Likovni salon Celje). Some of her latest and most prominent projects are: discursive project “On” \u2013 reflection of art (ten discussions with artists, curators, critics, theorists, producers on some of the basic topics in art; in cooperation with KIBLA Maribor, 2008), After curatorial dinner (curatorial dinners with seven artists, research, in-situ exhibition, with: Riho Kall, John Grzinich, Evelyn M\u00fc\u00fcrsepp, Toomas Thetloff, Patrick McGinley, Erkk Luuk, Anna Hints, in collaboration with Moks, Center for art and social practices, Mooste, Estonia and Tomar, Portugal), project Laboratorium (The World of Art, organized by SCCA-Ljubljana) and LabSUs, open platform of curators, artists, writers, theoreticians (Gallery \u0160kuc, Ljubljana, 2007). Sound-video-text installation Transition (Kazemate, Ljubljana Castle, together with Iztok Maroh, 2009) was a turning point, where words and texts were not used as words about art, but as the art of words. She started her performative readings with This late or already, 50 (49) questions for Admission Free (Spitall Chapel, Celje, 2010), followed by Hearing Eurydice in project Public readings and performative lectures. She started performative writing in-situ with 44 (20) questions for the ARZENAL DEPO 2K9 (Viba studio, Kapelica Gallery, 2009) and continued with latest 47 (8)>(7) textual fragments for Radio Art Space (personal computer, typewriter and a fountain pen \u2026 homage to Friedrich A. Kittler and his essays Gramophone Film Typewriter, Gallery \u0160kuc, December 2011).<\/p>\n

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\n\"DorotheeDorothee Richter<\/strong>
\nArt historian, author, curator, organised symposiums as Curating Degree Zero<\/em> \u2013 an international symposium on curating, GAK, Bremen (with Barnaby Drabble), 1998; Dialogues and Debates<\/em> \u2013 feminist positions in contemporary visual arts, 1999; The Quintessiental Hold of Images<\/em>, 2001 (with Sigrid Adorf and Kathrin Heinz), The Visuality of Theory vs. The Theory of the Visual<\/em> (with Nina M\u00f6ntmann), Re-Visions of the Display: Exhibition Scenarios, Their Readings and Their Publics<\/em>, Migros Museum (with Jennifer John and Sigrid Schade), Communitiy_ perhaps<\/em> (with J\u00f6rg Huber and Elke Bippus), Institution as Medium. Curating as Institutional Critique?<\/em> concept with Rein Wolfs, Fridericianum Kassel.
\nShe was director of the Lichthaus in Bremen, artistic director of Kuenstlerhaus Bremen, 1999\u20132003, some projects included: over high, over flow; naming a practice, collaboration \u2013 a practise which creates an environment. She initiated with Barnaby Drabble Curating Degree Zero Archive<\/em><\/a>; an archive, travelling exhibition and web resource on critical curating, shown and re-interpreted with artists, curators, designers in: Basel, Genf, Linz, Bremen, Bristol, L\u00fcneburg, Birmingham, London, Berlin, Edinburg, Milano, Seoul, Paris, Bergen and Cork from 2005 to the present day. She lectured at University of Bremen, University of L\u00fcneburg, \u00c8cole des Beaux Arts in Gen\u00e8ve, Merz Akademie in Stuttgart. She was research associate Exhibition Displays<\/em> at School of Art and Design in Z\u00fcrich. Director of the Postgraduate Program in Curating<\/a> at Z\u00fcrich Art University<\/a>. She is initiator of a web journal on curating (www.on-curating.org<\/a>), which is online since June 2008, until now 11 Issues were published.
\nPublications: Curating Degree Zero<\/em> \u2013 an international symposium on curating (ed.: D. Richter and E.Schmidt, N\u00fcrnberg, 1999); Dialogues and Debattes<\/em> \u2013 on feminist positions in contemporary visual arts (ed.: D.Richter, Die H\u00f6ge, N\u00fcrnberg, 2000); Programming for a K\u00fcnstlerhaus<\/em> (ed.: D. Richter, K\u00fcnstlerhaus Bremen, 2002); The Visuality of Theory vs. The Theory of the Visual<\/em> (ed.: Nina M\u00f6ntmann, Dorothee Richter, Frankfurt, 2004); Curating Critique<\/em> (ed.: B. Drabble, D. Richter, ICE, Edinburgh, Frankfurt, 2008); Re-Visions of the Display: Exhibition Scenarios, Their Readings and Their Publics<\/em> (Z\u00fcrich, 2009); Mit Sein<\/em> (ed.: Elke Bippus, J\u00f6rg Huber, Dorothee Richter, 2010); 11 Issues of On-Curating.org.<\/em><\/p>\n

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\n\"KatharinaKatharina Schlieben<\/strong>
\nCultural scientist, curator and lecturer
\n2004\u20132009 she formed, together with S\u00f8nke Gau, the curatorial directing team of the Shedhalle in Z\u00fcrich. 2002\u20132004 she worked as curator at Kunstverein M\u00fcnchen and before as guest curator at the K\u00fcnstlerhaus in Wien and at the South London Gallery (London). Recent publications include: Spectacle, Pleasure Principle or the Carnivalesque \u2013 A Reader on Possibilities, Experiences in Difference and Strategies of the Carnivalesque in Cultural-Political Practice and Work to do! Self-Organisation in precarious Working Conditions (ed. together with S\u00f8nke Gau, 2008 and 2009). Teaching positions at various art academies and art schools in Switzerland. Since 2010 she works as curator and lecturer at the Art Academy in Dresden.<\/p>\n

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<\/a>
\n\"AndrzejAndrzej Szczerski<\/strong>
\nProfessor at the Institute of Art History, Jagiellonian University in Krak\u00f3w, director of postgraduate curatorial studies. He was visiting lecturer at the Goethe University in Frankfurt (2003) and St. Andrews University (2004). His books include Patterns of Identity. The Reception of British Art in Central Europe c. 1900<\/em> (Krak\u00f3w, 2002) and Modernizations. Art and Architecture in the new states of Central Eastern Europe 1918\u20131939<\/em> (\u0141\u00f3d\u017a 2010). He co-edited The Mousetrap Book. On dealing with art institutions in contemporary curatorial practice<\/em> (Gda\u0144sk \u2013 Frankfurt 2007). He curated the Modernizations 1918\u20131939. The Future Perfect<\/em> exhibition in Museum Sztuki (Museum of Art) in \u0141\u00f3d\u017a in 2010 and co-curated The Power of Fantasy. Modern and Contemporary Art from Poland<\/em> exhibition in Palais des Beaux-Arts BOZAR in Brussels in 2011. He is current President of Polish Section of AICA. <\/p>\n","protected":false},"excerpt":{"rendered":"

WORLD OF ART School for Curators and Critics of Contemporary Art Season 14 S\u00f8nke Gau Lives in Z\u00fcrich (CH), cultural scientist, curator, critic and lecturer 2004\u20132009 he formed, together with Katharina Schlieben, the curatorial directing team of the Shedhalle in Z\u00fcrich. 2000\u20132004 he worked at the Institute for Contemporary Art at the Academy of Fine […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":490,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-492","page","type-page","status-publish","hentry","category-woa"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/comments?post=492"}],"version-history":[{"count":20,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/492\/revisions"}],"predecessor-version":[{"id":2882,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/492\/revisions\/2882"}],"up":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/490"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}